被“征用”的主体——以“样板戏”中的反面人物钱守维为例
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摘要
学界本对"样板戏"中反面人物的解读不多,大致被"文艺"与"政治"、"意识形态"与"乌托邦"的二元关系和现代性视域下"主体"的生成两种研究路向主导。前者认为由于政治桎梏,文学自身创作特性未受到尊重;后者认为在主体的自我建构中,他者被符号化。通过引入阿甘本关于生命政治的思考,并以此为思考角度重新考察"样板戏"中的反面人物钱守维在生命政治领域中的境况,本文将努力还原反面人物在本体论意义上呈现出的复杂意涵,同时重新审视文本呈现出的文学与政治间的复杂关联。
There are a few scholarly interpretations of negative characters in the eight "model plays". Generally, existing scholarship is mainly dominated by two research methodologies: first, the binary of "literature and art" and "politics", "ideology" and "Utopia", and second, the formation of "subject" from the perspective of modernity. The first methodology leads to the conclusion that due to political constraint, the creative characteristic of literature has not caught due attention; while in terms of the second, "the other" becomes a sign in the subject's self-construction. By introducing Agamben's idea of biopolitics, this article re-examines the situation of Qian Shouwei and restores the complex meanings of negative characters on the level of ontology, thus revisiting the complicated relationship between literature and politics as presented in the text.
There are a few scholarly interpretations of negative characters in the eight "model plays". Generally, existing scholarship is mainly dominated by two research methodologies: first, the binary of "literature and art" and "politics", "ideology" and "Utopia", and second, the formation of "subject" from the perspective of modernity. The first methodology leads to the conclusion that due to political constraint, the creative characteristic of literature has not caught due attention; while in terms of the second, "the other" becomes a sign in the subject's self-construction. By introducing Agamben's idea of biopolitics, this article re-examines the situation of Qian Shouwei and restores the complex meanings of negative characters on the level of ontology, thus revisiting the complicated relationship between literature and politics as presented in the text.
引文
吉奥乔·阿甘本:《神圣人:至高权力与赤裸生命》,吴冠军译。北京:中央编译出版社,2016年。[Agamben,Giorgio.Homo Sacer:Sovereign Power and Bare Life.Trans.Wu Guanjun.Beijing:Central Compilation & Translation Press,2016.]
——:《例外状态》,薛熙平译。西安:西北大学出版社,2015年。[- - -.State of Exception.Trans.Xue Xiping.Xi'an:Northwest University Press,2015.]
米歇尔·福柯:《性经验史》(增订版),佘碧平译。上海:上海人民出版社,2005年。[Foucault,Michel.The History of Sexuality.Trans.She Biping.Shanghai:Shanghai People's Publishing House,2005.]
蓝江:“从赤裸生命到荣耀政治——浅论阿甘本homo sacer思想的发展谱系”,《黑龙江社会科学》4(2014):1—10。[Lan,Jiang.“From Naked Life to Glorious Politics:A Brief Discussion on the Development of Agamben's Thought of Homo Sacer.” Social Sciences in Heilongjiang 4(2014):1-10.]
李杨:《50—70年代中国文学经典再解读》。济南:山东教育出版社,2003年。[Li,Yang.Reinterpretation of Chinese Literary Classics during the 1950s-70s.Jinan:Shandong Education Publishing House,2003.]
《革命现代京剧·海港》。北京:人民文学出版社,1972年。[Modern Peking Opera:On the Docks.Peking:People's Literature Publishing House,1972.]
卡尔·施米特:《政治的概念》,刘小枫编,刘宗坤等译。上海:上海人民出版社,2003年。[Schmitt,Carl.The Concept of the Political.Ed.Liu Xiaofeng.Trans.Liu Zongkun,et al..Shanghai:Shanghai People's Publishing House,2003.]
吴冠军:“生命权力的两张面孔——透析阿甘本的生命政治论”,《哲学研究》8(2014):77—85。[Wu,Guanjun.“Two Faces of Bio-Power:An Analysis of Agamben's Biopolitics.” Philosophical Research 8(2014):77-85.]
① 参看沈志冲:“从人物表谈起”,《陕西戏剧》5(1980):22-23。惠雁冰:“‘样板戏’:高度隐喻的政治文化符号体系—以《沙家浜》为例”,《文艺理论与批评》3(2006):41-47。
② “生命政治”这个词于20世纪20年代由瑞典政治学家科耶伦创造,由以伯格森为代表的形而上学的生命哲学、以斯宾格勒为代表的历史哲学和以尼采为代表的伦理性的生命哲学三股思潮交汇而成。福柯于70年代激活此概念,将之定义为“一种新的权利技术”。阿甘本重新以结构主义角度审视,认为生命政治镶嵌于所有人类政治共同体之中。参看阿甘本:《神圣人:至高权力与赤裸生命》序言,吴冠军译(北京:中央编译出版社,2016年)第9—13页。
③ 本文选用的《海港》版本是1972年版次,由上海京剧团《海港》剧组集体改编。相较于1968年版次,此版语句简洁、明快、更加口语化,节奏集中紧凑,将敌我双方的阶级斗争主题表述得更为明确。
——:《例外状态》,薛熙平译。西安:西北大学出版社,2015年。[- - -.State of Exception.Trans.Xue Xiping.Xi'an:Northwest University Press,2015.]
米歇尔·福柯:《性经验史》(增订版),佘碧平译。上海:上海人民出版社,2005年。[Foucault,Michel.The History of Sexuality.Trans.She Biping.Shanghai:Shanghai People's Publishing House,2005.]
蓝江:“从赤裸生命到荣耀政治——浅论阿甘本homo sacer思想的发展谱系”,《黑龙江社会科学》4(2014):1—10。[Lan,Jiang.“From Naked Life to Glorious Politics:A Brief Discussion on the Development of Agamben's Thought of Homo Sacer.” Social Sciences in Heilongjiang 4(2014):1-10.]
李杨:《50—70年代中国文学经典再解读》。济南:山东教育出版社,2003年。[Li,Yang.Reinterpretation of Chinese Literary Classics during the 1950s-70s.Jinan:Shandong Education Publishing House,2003.]
《革命现代京剧·海港》。北京:人民文学出版社,1972年。[Modern Peking Opera:On the Docks.Peking:People's Literature Publishing House,1972.]
卡尔·施米特:《政治的概念》,刘小枫编,刘宗坤等译。上海:上海人民出版社,2003年。[Schmitt,Carl.The Concept of the Political.Ed.Liu Xiaofeng.Trans.Liu Zongkun,et al..Shanghai:Shanghai People's Publishing House,2003.]
吴冠军:“生命权力的两张面孔——透析阿甘本的生命政治论”,《哲学研究》8(2014):77—85。[Wu,Guanjun.“Two Faces of Bio-Power:An Analysis of Agamben's Biopolitics.” Philosophical Research 8(2014):77-85.]
① 参看沈志冲:“从人物表谈起”,《陕西戏剧》5(1980):22-23。惠雁冰:“‘样板戏’:高度隐喻的政治文化符号体系—以《沙家浜》为例”,《文艺理论与批评》3(2006):41-47。
② “生命政治”这个词于20世纪20年代由瑞典政治学家科耶伦创造,由以伯格森为代表的形而上学的生命哲学、以斯宾格勒为代表的历史哲学和以尼采为代表的伦理性的生命哲学三股思潮交汇而成。福柯于70年代激活此概念,将之定义为“一种新的权利技术”。阿甘本重新以结构主义角度审视,认为生命政治镶嵌于所有人类政治共同体之中。参看阿甘本:《神圣人:至高权力与赤裸生命》序言,吴冠军译(北京:中央编译出版社,2016年)第9—13页。
③ 本文选用的《海港》版本是1972年版次,由上海京剧团《海港》剧组集体改编。相较于1968年版次,此版语句简洁、明快、更加口语化,节奏集中紧凑,将敌我双方的阶级斗争主题表述得更为明确。